Roll up! Roll up! The circus is in town! Well, sort of. La Soirée is circus meets burlesque and everything in between. Featuring the stars of La Clique in a pick ‘n mix fashion you can never be sure what to expect. La Soirée is ever changing from night to night but always brilliant. Performed the world over, the show has been given the renowned Idolize Spiegeltent for the Adelaide Fringe and I can’t imagine seeing it anywhere else. On the last Saturday of the Fringe the St. Patrick’s Day celebrations raged outside The Garden of Unearthly Delights and so, decked out in green I pushed past them and through the gates to join the line snaking out next to the tent. From this point onwards I knew La Soirée was going to be a good show.

La Soirée is an extremely attractive performance, cast, staff and tent all included. With crushed velvet jackets and smiles from the doorman, Lachy, we were given a helping hand to find seats by a lovely lady in fifties style black attire. Ushered in a few rows back from the stage I peered around to see a packed room, the walls covered in mirrors and intricate framework, while in the centre rested a small and circular red stage. The lights dimmed, the William Tell Overture began to play and onto the sage our host for the night burst forth! Dramatic music? Check. Pin Stripe suit? Check. Megaphone voice? Check. It looked like we were set for our nostalgic trip into a time lost to previous generations, as we were asked to “MAKE SOME NOISE!”. From the depths of the shadows emerged Le Gateau Chocolat singing soft baritones building around the dramatic music. Le Gateau Chocolat moved onto the stage to reveal an outfit unparalleled by any other; golden frills consuming the space on stage and the night of entertainment officially began.

A tough act to follow, one would think, but it soon became apparent that each act was just as difficult to follow as the next. In showers of glitter and splashes of water the acts performed in quick succession to an almost constant sound of applause. Somewhere between gasping at the acrobatic skills of The English Gents and covering my mouth with my hand in shock at the flexibility of Captain Frodo I began having to hold back on yelling out.

The show was not all trained acrobatics, however, with modern music and comedic acts such a Mario, Queen of the Circus and Canadian born Mooky. Moving away from the more traditional circus skills Mooky and Mario had the audience almost crying with laughter. However a word of warning for this show; although there were younger faces in the crowd, swearing and some nudity flitted in and out, intermingled with audience participation from the first few rows that gave new meaning to the term ‘personal boundaries’.

Eventually, after the short intermission, my notes became almost incomprehensible as I feared to take my eyes away from the stage. For our host to say it was “Not a sit back and fold your arms show!”, was rather an understatement and in the end received a standing ovation from all members of the audience as well as a charming rendition of We are the champions by Queen. The Fringe may have ended for this year but La Soirée certainly hasn’t, taking out the Bank SA Pick of the Fringe Award this year. We can only hope they will return next year and who knows what new and brilliant acts they will have picked up by then‽ La Soirée is shocking, inspiring and encourages you to follow even your wildest dreams! So be sure to look out for one if not all of the acts next year and witness the spectacle that is, La Soirée!

DEATH, MYSTERY, REVENGE AND FRIENDSHIP!
Of their four shows together so far Sammy J & Randy in The Inheritance is most definitely THE BESTI have seen! It is also…unfortunately…the only one I have seen. Over the last few years my friends and members of my family have had multiple opportunities to go to Sammy J and Randy shows, coincidently always around times when I have been out of the state. Disappointed time and time again that I could not attend, I knew this year I had to get there. So after yet another mad dash to a Fringe show, past the hordes of people streaming into the Garden of Unearthly Delights, we were able to dodge and weave ourselves through to the Umbrella Revolution tent.

If you know anything about Sammy J and Randy then you will know they are one of the best comedy duos around. You might also have noticed that one of them is a bit of a muppet.  It is hard to think of these two apart and even scarier to try Google searching them as such. After shuffling around in the  tent for a chair or bench or patch of space to call my own for the duration of the show, the lights dimmed and we were treated to a ye olde introduction followed by a punchy musical number as is tradition. Right from the outset Sammy J and Randy are hilarious. Line after line they proved themselves to be funny, intelligent, rather gifted musicians and a tight act all round.

Unlike many stand-up comedy shows however Inheritance has a plot. After the death of Randy’s Uncle, the pair is forced to go to Scunthorpe, England because Randy is the executer of his Uncle’s will. Storyline is also the starting point of the production or so the man behind Randy .. well .. underneath him, Heath McIvor told me. This fact does not surprise me, however, as the whole production ties together to form a well-rounded blend of dialogue and music with just a touch of audience participation and almost seamless continuity.

Sammy J and Randy dodged and weaved their way through the storyline in much the same way we had dodged the crowds to get in. Constantly lulling the audience into a false sense of security again and again they turned the tables on the expected punch lines and delivered non-stop delight. Their style of comedy almost feels like listening in on your neighbours’ domestic arguments, their morning breakfast banter and occasionally strays into more personal conversations between the two. This, coupled with their originality is what makes them such an unmissable act. Not often have I sat in a show that felt as diverse in talent and natural as Inheritance, indicated perfectly by their brilliant skill for improvisation throughout the show.

Incorporated into their music-filled spectacular through the fall-outs and the drama are exquisite shadow puppets, filthy jokes, a local reference, some breaking of the “fourth wall” and an action packed fight scene. The child-like quality by which the play progresses is oddly revealing of attitudes to some aspects of society but mostly just a fun time for all involved. Not two minutes would pass before my friend in front of me would burst out in laughter and turn her head in my direction. From my vantage point I saw similar reactions in the rest of the audience, consisting of all ages despite the, shall we say, coarse language and references. Each and every one of them was asking the same question, will Sammy J stand in the way of Randy’s Inheritance?

After the wrap–up of all the excitement I heavily pulled myself up off of the stairs where I had rather cheekily moved to for a better view and hauled myself towards my friends. Even exiting the tent it was hard to tell where the show ended and reality began. As the team greeted fans outside, the grins of those in the line would have been almost impossible to wipe away. The absurdity of standing between Randy and Sammy J threatened to overwhelm us with more than one easily conversing with Randy as an equal and expecting him to respond even when Heath McIvor’s back was turned.

Now whether you believe they met at The Forum theatre in Melbourne or on a beautiful coffee date, after this show you will just be happy that they met at all and if you miss out this year, do not fret; there is always (hopefully) next year for another five star production!

In and around the Convention Centre are a series of indoor and outdoor venues for all aspects of the fringe, coined “The Big Slapple”. After touring past nightclubs and festival bars it seemed to be a quiet affair, however my friend and I happily spotted our destination, “The Apollo”, nestled in the corner but easily recognisable from the large signs that adorned it. Welcomed into the foyer at 9:30pm we had time to spare before the show began at 10:30pm, but our early arrival spelled the beginning of an unexpectedly eventful evening.

The Jane Austen Argument is a fantastic cabaret duo consisting of Tom Dickins and Jen Kingwell who have been touringsince they met on a cigarette break. Having discovered that they both shared not only similar music tastes, but were also both aspiring to break into the cabaret scene and leave behind the 9 to 5 work day, they set to work. Nonetheless The Jane Austen Argument are, “…Not a Book Club!”, as they pointed out during their show when a couple left to the amusement of the rest of the audience. As Tom sang out “What will I do without you?” a line from their song Northsoutheastwest to the leaving members a laugh broke out around the room. This was not an uncommon occurrence. Mostly caused by their name and a certain reluctance to read past the title it is generally assumed that their production is a play about Jane Austen, but this idea was quickly dashed as we filed in.

Beginning the show in the 400 seat theatre was friend Mikki Ross with his two and a half songs of cabaret pop and nimble piano work. After accidentally meeting him earlier in the foyer it was evident he would be fun and entertaining but as he began his set a look of shock passed between my friend and I which confirmed our mutual agreement of how talented a musician he was. Leaving no room for boredom the main act began, inciting hushed awe among the audience. Decked out in stripy stockings, black feathers, and a set of wings between them the duo commenced a production of singing and musical performance that left a mesmerised silence in its wake. Song after song they proved themselves to be hilarious, dramatic and talented and I was so enthralled that I felt the need to write down notes diminishing, partially because during many songs I was too afraid to move for fear of disturbing the atmosphere.

Titled Somewhere Under the Rainbow the show is largely based around the very recent (March 2^nd) release of their debut album of the same name. Surrounded by scattered poppies in reference  to The Wizard of Oz the duo performed with a sensational backing band that drifted ethereally, (candles in hand) in and out for their songs be it a small electric cello part or accompaniment by drums and bass. Singing most of the leads Tom Dickins has been described before as akin to American singer Rufus Wainwright and I can only agree, although adding only that his own style often calls for a far grittier sound and Australian edge. Combined with the almost operatic Jen and beautiful harmonies between them, their songs are honest, theatrical, and just that little bit amusing describing their lives and the obstacles they have faced, winning over the audience despite most never having previously seen them perform.

Still not convinced? Well, also included in the 90 minute set is some Regina Spektor, lyrics written by author Neil Gaiman, Cassio Confessions, participation in a mock apocalypse and ukuleles, but you shall have to buy a ticket to find out more on those.

Having had the chance to meet them both after the show it was evident that both Jen and Tom were exactly as affable as they seemed on stage.  Fashionable and quirky, this Melbourne act has everything (for all ages but with a strong language warning) and there is no doubt as to how they won Best Cabaret, Adelaide Fringe Festival 2010 or Best Cabaret (Director), Adelaide Fringe Festival 2011/. After a whirlwind 2011, they are unquestionably ones to watch and as they said themselves “it’s always more fun when there’s people watching!”. This show kept me somewhere between holding my breath and crying; it sent shivers down my spine, and had me laughing so much I was still smiling walking out of the theatre into the chilly night air, proud to have taken my friend to see them.

Five Terry Pratchett novels and four plays later, Pratchett Pieces Three was down on my list as another respectable Unseen Theatre Company production, although not without its ups and downs.

Another Pratchett play. On hearing this some will be elated and others confused, some will squeal with excitement and others will stare blankly back at you waiting for an explanation. For once however I did not have one. Where, in the past, many of the plays have been based on the novels of Sir Terry Pratchett, Pratchett Pieces Three sought to try something new by having the two hour show consist of five “bite-sized” plays adapted from a variety of his short stories by director and actor Pamela Munt.

Walking into the familiar Bakehouse Theatre foyer with its cushy couches, bar and walls plastered with the posters of previous plays, it felt like the beginning to another typical play. But it wasn’t.

The theatre dimmed until the packed little room was in complete darkness. Led by the expertly costumed Sam Blackmore as Footnote, complete with asterisk staff, we were promptly treated to the presence of crowd favourite character (depending on how you look at it) Death.  Following this philosophical rant the audience was met with another commentary on society but this time in the form of a Witches tale complete with a well-practiced and near perfectly performed Granny Weatherwax by director Pamela Munt. With soft chuckles and smatterings of more extreme bursts of laughter the two pre-intermission plays give a wonderful insight into the world of Terry Pratchett while also mirroring our own and human nature in general.

Beginning and ending with effective music “greats” that spurred small dancing sessions in our corner of the theatre, the plays continued on after intermission to become a slightly more confusing venture for most in the audience. Moving away from Pratchett’s Discworld, the second half of the play seemed to take a turn that was lost on most audience members, although gained giggles from some of the younger crowd. This lag continued into the next portion but soon began to improve as the production edged towards the final installment with stellar performances by many of the more minor characters. Amongst its ranks was one of the most impressive interpretations of Death I have seen, acted by Hugh O’Connor and equally impressive performances by masters of sarcasm and comedic timing from Kate Hall, Christopher Bond and Paul Messenger.

As always the play had to end and as always it finished with a bang, but not the sort usually encountered by the wizards of the Unseen University where the final play was set. If there was any perfect way to finish, the wizards were probably it. If there’s one time that the Unseen Theatre Company always get it right it’s when they are back in the Discworld universe, and when the wizards are back happily critising committees from their armchairs to the sound of audience laughter ricocheting off the walls.

While the pieces this time did not all fit together for me at the Bakehouse Theatre I will not deny this whimsical play made me laugh. With a fine cast of amateur actors and a dedicated crew of volunteers the Unseen Theatre Company put on a show that started and finished in vivacity and hilarity. It may have wavered in the middle but is certainly thought provoking and family friendly, without pandering to younger audiences.

However, as Terry Pratchett once wrote,  “the trouble with having an open mind, of course, is that people will insist on coming along and trying to put things in it”. So be sure to keep an eye on the Unseen Theatre Company for future shows to see for yourself and, in the meantime, read up on your Pratchett to be ready for when a new one comes along!